Search results - CEJSH

1

Kantáta Alceste e Fileno: nejstarší známé dílo Josefa Myslivečka?

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Zdrálek V.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 2

137-152

EN

The earliest composition by Josef Mysliveček (1737–1781), evidently written before he left for Italy (1763), was proved to be the occasional congratulatory cantata Alceste e Fileno, to an anonymous, allegorical pastoral text. The unanimous dating of the composition before 1757 is helped by a dedication, on the occasion of the election of the Zbraslav Cistercian Monastery abbot Desiderius Andres (in function between 1757 and 1770). The unique, undated copy of the cantata, in the music collection of the Osek Cistercian Monastery in north-western Bohemia, (deposited in the National Museum, Czech Museum of Music in Prague, shelf-mark CZ Pnm XXXII A 62) and procured by the local choirmaster Leonard Dont is presumably affiliated to the original source (perhaps the dedication autograph), from the Zbraslav music collection, today considered to be lost. The opening sinfonia, surviving in five other individual copies, suggests further hypotheses. It survives, amongst others, in the Waldstein music collection, in a group of Mysliveček’s early sinfonies, which are believed (by J. Čeleda, and R. Pečman) to be identical with the composer’s first works, which, according to the obituary, written by J. M. Pelcl, the composer had performed in an unspecified Prague theatre – probably, in fact, in the Waldstein Palace. The dating of the piece suggests that at the age of twenty, J. Mysliveček had already composed, and left Prague with certain compositional skills.

2

Ecce nomen Domini - Haja pupaia - Hajej můj andílku: další příspěvek k historii jednoho putovního motivu

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Slavický T., Dramlitsch I.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 4

369-384

EN

The article deals with the origins of the much discussed travelling motive, made popular by B. Smetana, who used it in his opera Hubička (1874). As a lullaby, this motive appears in the Bohemian collections of folkloric songs, and in the 17th–19th century Christmas pastorellas. Recent research revealed its existence also in the Austrian and South-German folklore, as well as in the (mainly pastoral) works by other composers, such as J. S. Bach, M. Haydn, or W. A. Mozart. The search for its origins lead back to the late medieval Christmas antiphon Resonet in laudibus, known as contrafactum Joseph lieber, Joseph mein. The existence of a Bohemian contrafactum, Publisher in the 17th century Czech Catholic hymn-books, (such as J. Hlohovský, F. Bridel, or M. V. Šteyer), and relating to the cantio Magnum nomen Domini , found in the important 15th and 16th century sources, (among others the Jistebnice Gradual, and the Franus Hymn-book), as well as to the earlier xantip Ecce nomen Domini, helped to add substantially to the picture of the origins and reception of the motive, which appears in the music of several centuries, and links together music history, hymnography and ethnomusicology.

3

Josef Mysliveček e l’esecuzione napoletana dell’Orfeo di Gluck (1774)

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Tufano L., Jonášová M.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 3

257-279

EN

A revised version of Gluck’s Orfeo ed Euridice, with inserted pieces by Johann Christian Bach and others, was performed at the San Carlo Theatre in Naples on 4th November 1774. By collecting and analysing little known, or newly found, archival documents, the article shows the complex evolution of the theatrical season, and points out the role played by Josef Mysliveček in the choice, manipulation, and execution of the score; an ignored judgement by the Bohemian composer on the work is also examined, in connection with the specific features of the Neapolitan performance. A brief discussion is devoted to the payments for two (of the nine) drammi per musica written by Mysliveăek in Naples, which are compared with the rewards of other maestri di cappella, in order to show the degree of professional achievement reached by the musician. The manuscripts of Mysliveček’s operas, preserved in the library of the Conservatorio di Musica “San Pietro a Majella” in Naples, are considered in the last paragraph; one of them (Farnace) is probably a partial autograph, while the other seven belonged to the collection of the Queen of Naples, Maria Carolina; she, the daughter of Empress Maria Teresa, could have favoured the author’s Neapolitan career.

4

Vícehlasý repertoár v graduálu z Českého muzea stříbra v Kutné Hoře

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Černý J.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 2

165-184

EN

Until now, the Latin Gradual and Hymn book from the beginning of the 16th century (Kutná Hora, České muzeum stříbra, shelf-mark 88/85), failed to raise the interest of musicologists. The main aim of this article is listing the polyphonic compositions not registered by the catalogue RISM B IV, 3–4. Even if the quality of writing of these polyphonic Mss. is low, it is an important source, containing several compositions (and contrafacta) which do not appear in other Bohemian sources of the same period.

5

Pozůstalost Václava Jana Tomáška (1774-1850)

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Kabelková M., Klein S.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 2

153-170

EN

Václav Jan Tomášek was one of the most important Bohemian musicians of the first half of the 19th century. He was a sought after composer, pianist and also a successful music teacher. As a composer, he laid down the foundations of modern Czech song writing to German and Czech texts, and in piano composing he helped the development of a new form – the ‘characteristic’ piece. The research carried out over the last five years shows that the sources relating to Tomášek’s life and work, are dispersed all over Central Europe. The most important collection, including the composer’s estate, survives in the National Museum – Czech Music Museum, Prague. The composer’s estate was presented to the Museum in 1874 by his heir and nephew, Baron Eduard Tomaschek. The full contents of the estate, which was not listed, are not exactly known. It seems that the collection contained most of Tomaschek’s compositions. There are more autographs and handwritten copies than printed scores. An unknown amount of non-musical documents, also inherited by the nephew Eduard, was, at the beginning of the 20th century, in the private collections of the music publisher M. Urbánek and F. Donebauer, from whom the Tomášek materials were acquired by R. Morawetz. Most of the documents, dealt with by the specialist press of the first three decades of the 20th century, are today considered lost. Discovery of V. J. Tomášek’s estate papers, including his last will, supported some traditional beliefs about the estate, and also brought completely new information.

6

Österreichische staatliche Künstlerstipendien 1892-1898

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Reittererová V., Reitterer H.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

331-366

EN

One of many ways in which the Austrian monarchy supported the arts, was a system of Arts Grants. They were awarded for poetry, the arts and music composition. The article publishes documents relating to the Arts Grants, awarded between 1892–1898, surviving in the State Archives in Vinna (Österreichisches Staatsarchiv Wien / Allgemeines Verwaltungsarchiv). The members of the music composition evaluation commission were in those years Eduard Hanslick, Johannes Brahms and Karl Goldmark. The documents published here show clearly, how, in the years of escalating nationalistic tensions in the monarchy, the balance between the individual lands under the Habsburg crown was strictly observed, also in relation to the languages spoken there. The published documents give information about the applications of the composers Josef Suk, Vítězslav Novák, Karel Weis, Ludvík Kuba and other composers from Bohemia, and also other artists from other nations. Also included are short biographies of the applicants, providing that information relating to them was available.

7

Meinungsverschiedenheiten über das Wesen des Barocks und der Klassik in der Musik

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Pečman R.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 2

117-136

EN

The author discusses the terms ‘Baroque’ and ‘Classical’ as used in historiography, art history and fine-art history. He follows the changes of meaning of the terms ‘Baroque’ and ‘Classical’ from the 17th-20th century, and tries to discern the style features of the Baroque and Classical periods. His article is based on his own earlier works dealing with this subject, and on conclusions of the scientific discussion which took place in Bohemian, European and American historical and musicological works in the first six decades of the 20th century.

8

Josef Adolf Hanslik jako knihovník a satirik

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Reitterer H.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 4

385-406

EN

The article, based on sources from the Austrian State Archives (Österreichisches Staatsarchiv), the Archives of the Austrian Academy of Sciences (Österreichische Akademie der Wissenschaften) and the National Library in Prague, casts a new light on the life, works and personality of the librarian Josef Adolf Hanslik (* 1785 Lišany, † 1859 Prague), father of the music critic and aesthetician Eduard Hanslick. The documents, showing his (unsuccessfull) attempts to become the head of the Viennese University Library, and the exceptions taken by the Imperial Academy of Sciences in Vienna against Hanslik’s still interesting main work, Geschichte und Beschreibung der Prager Universitätsbibliothek from 1851, suggest a politically orientated personality, taking part in forming the land-patriotic national awareness (“böhmisch”, i.e., in the frame of the Bohemian Lands, of both Czech and German nations), and due to his belonging to the Prague “intellectual alliance” of the pre-1848 Revolution period, looked upon by the Viennese state offices with mistrust. The third source linked to Hanslik’s personality, is Hanslik’s, until now unpublished, satiric writing Trompeten und Pauken, from 1830, discovered by the Czech musicologist Jitka Ludvová. Talking about a fictitious territory (without any doubt Bohemia and Prague), its author sharply criticised the political, social and moral situation of his time. Of special importance for the music history of Prague, are the extensive, politically pointed passages dedicated to the Prague Conservatoire. They give evidence of music knowledge of Josef Adolf Hanslik, whose personal qualities, abilities and interests without any doubt influenced the development of the personality of his son.

9

Pozůstalost Karla Zvěřiny (1871-1944) v Městském muzeu v Netvořicích

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Freemanová M.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 2

171-182

EN

Karel Zvěřina (1871–1944) was appointed a teacher and later a school-director in Křečovice between 1894 and 1930. His papers, today in the Town Museum in Netvořice, near Křečovice, contain a numer of documents concerning his Křečovice principal, the school director Josef Suk, and his family – mainly his son, the composer Josef Suk, and his father-in-law, Antonín Dvořák. There are, among others, letters by Josef Suk sen., and a print of his festive speech from 1893, describing the hard life of a 19th century village teacher, anecdotes from Antonín Dvořák’s visits to Křečovice, written by Zvěřina, as well as his drawing of the Křečovice church organ-loft and interior, marking places taken by the important guests (the Czech Quartett, Antonín Dvořák, members of his and Josef Suk’s family), and, especially, one letter written by the composer Josef Suk and several drafts of his works, including the title leaf of Pod jabloní op. 20 – the only existing remainder of the original eighteen-page draft of this composition.

10

Dvořák - un homme de construction? Une construction structurelle en son Requiem

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Slavický M.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

255-264

EN

Antonín Dvořák used to be seen as an excellent writer of melodies, but a poor builder. But, the analysis of the Dies irae – Tuba mirum – Dies irae (DI 1 – TM – DI 2) movements of his Requiem (1890) reveals, in an impressive way, the author’s abilities of construction. Both choral movements (DI 1 and DI 2) were based by Dvořák on mere two three verse sections of the text. In DI 1, therefore, he repeated them twice, and gave them a different tectonic function each time – the first time in an ascending, gradating part of both movements, the second time at the peak and descent. The two movements, however, are not identical. The instrumental setting of the second is denser, there are more short counterparts and instrumental insertions (including the double quotation of the theme of the first movement in the bass instruments), and, especially: DI 2 at its peak brings several layers of confrontation of the text and motivic material of both movements. The composer also joined the whole set of three movements rhythmically. Every movement (DI x TM) uses its own basic rhythmical model, which also plays a key role at the juncture at the peak of DI 2: both rhythmical models sound simultaneously (together with other layers) with different speeds and instrumentation. Dvořák the constructivist? Certainly not in the primary sense of the word, but surely a composer who, at the peak of his composing career, was capable of impressive achievements in the field of construction and combination.

11

The dating and chronology of the Strahov Codex

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Gancarczyk P., Mráčková L.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 2

135-145

EN

The Strahov Codex (PragP 47) is usually dated as 1480, or between 1460 and 1480 (Census-Catalogue). A more precise dating for the codex’s compilation can be gained by studying the watermarks. The author presents evidence showing that the codex’s fascicles were written at different times around the end of the 1460s and he offers a new perspective on the manuscript in the light of this information. Strahov can now be seen as chronologically (and repertorially) close to the oldest fascicles of the Leopold Codex (MunBS 3154), bridging what has hitherto been a temporal gap between the two ‘youngest’ of the Trent Codices (TrentC 89 and TrentC 91).

12

Patrem Yacten - Sanctus Elezanger: a fragment of an unknown mass ordinary from Codex Speciálník and its Milanese context

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Mráčková L.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 2

146-164

EN

The Mass Ordinary fragment Patrem Yacten – Sanctus Elezanger, surviving in the Bohemian Ms. Codex Speciálník, belongs to the imported repertoire included in this source in the 1480s. Detailed research of this composition revealed not only contacts between Bohemia and music culture in most important North Italian centres, but, unexpectedly, also new information concerning musicians working in the 1470s at the court of the Dukes of Milan.

13

První opera Zdeňka Fibicha a Anežky Schulzové Hedy op. 43

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Kopecký J., Freeman M., Freeman D.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 3

280-310

EN

The article deals with the compositional process of the opera Hedy. It looks for the moments which probably decided the final shape of the work, and assesses the strength of the expected, as well as real, reactions of the public, as well as the reviewers. The broad outlook from inspiration to reception, links Hedy with Fibich’s previous (Hippodamie and Boufie /The Tempest/) and following dramatic compositions (Šárka, Pád Arkuna /The Fall of Arkona/). The article aims to point out the essentials features of Hedy, and to clarify the reasons for the final shape of the work’s dramaturgy, in relation to its authors, as well as the time of its creation.

14

Neznámý pražský opis partitury Dona Giovanniho ve sbírce hudebnin premonstrátského kláštera na Strahově

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Jonášová M., Dramlitsch I.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

301-330

EN

The newly discovered copy of a fragment of the score of Don Giovanni, surviving in the music collection of the Premonstratensian monastery at Strahov, in Prague, consists of seven of eleven numbers and five of fourteen recitatives of the second act of the opera. The paper shows that the score was written in the Prague copying workshop of Anton Grams, from which also originated the so called ‘Donaueschingen score’. It was probably copied from Donebauer’s score. From Strahov score was copied Donaueschingen score or both scores were written simultaneously. The Prague copy of the so called ‘Lobkowitz score’, and also the Stuttgart score, were used for comparison.

15

Boj o kulturní existenci a hledání národní identity: hudba a české hudební časopisy v období protektorátu

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Wagner U.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 2

183-202

EN

The article deals with little researched subject from the history of Czech music in the 20th century – public music life at the time of the Nazi Protectorate of Bohemia and Moravia (1939–1945). Based on research in Czech music journals of the time, which are listed in the article, it informs on important concerts and theatre performances, music festivals and festivities, taking place in Prague and other places in the Protectorate territory. It also follows the ways in which the press wrote about period music life, and tries – even if only in a preliminary way – to answer a difficult question – how much these activities corresponded with the official cultural politics of the Protectorate regime, and on the other hand, to what extent they manifested patriotic feelings and resistence against the enemy occupying power.

16

Rusalka de Dvořák - la dynamique, une clé de compréhension des valeurs et des sens

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Srnka M.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

291-300

EN

This paper tries to show Dvořák’s compositional approach to the central values and meanings of the libretto of Rusalka, by analysis of the dynamic curve of the opera’s recording. Two dynamic characteristics can be identified here – the gradually changing world of people, and the stable, silent world of the supernatural beings, differentiating in a way which is reminiscent of the treatment of dynamics in Wagner’s Tristan and Debussy’s Pelléas. The silent world of supernatural beings, represented especially by the enclosed strophic formations, offers the possibility of thematic introduction of an isolated fortissimo major chord, which does not gradate any more, as a symbol of the supernatural beings’ idealised pure idea of ‘death’, ‘love’, ‘soul’ and ‘sin’. In the course of the opera, the values become relative. In the final duet, Dvořák changes both worlds, the first time allocating to the Prince and Rusalka the opposite dynamic characteristics (a gradating one for Rusalka, a stable, silent one to the Prince). In the final, newly thematic fortissimo major chord, he again nods to the supernatural beings’ idealised ideas of love and death, expressed at the opening of the opera, and makes his treatment of the spiritual values and concept of the libretto clear.

17

Dvořák’s formal education outside music

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Beveridge D. R., Beveridge D. R.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 1

5-48

EN

The Dvořák literature has little to say on the subject of his education outside the realm of music. Close study of the topic, moreover, reveals that what has been written is often mistaken or at best seriously misleading. This is in part because direct documentation is scarce. My own researches draw on a variety of materials including especially the applicable law regarding elementary education in the Austrian Empire, various studies of the history of education in the Czech lands, the records of the school of St. Mary of the Snows in Prague (some of them previously examined but only cursorily), biographical sketches of Dvořák published during his own lifetime but ignored in most Dvořák literature, and an article published in 1905 on the history of education in Zlonice. My conclusions are many and varied, but the main results may be summarized as follows: 1) A significant strengthening of our conviction that Dvořák was an exceptionally bright and industrious student; 2) On the other hand, a reevaluation of the nature of his non-musical educational curriculum, as having never gone beyond the level offered by an elementary school – a level attained by many of his fellow students before reaching the age of twelve. In particular, the frequent use of the Czech term pokračovací (continuing) to describe Dvořák’s education after leaving Nelahozeves, implying advancement beyond the curriculum of an elementary school, is unfounded and misleading.

18

Liturgical polyphonic practices in the Middle Ages: circulation and cultural transfers in Europe

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Grassin-Guermouche S., Mráčková L.

Hudební věda (Musicology)

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2006

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vol. 43

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issue 4

341-368

EN

From the earliest days of musicology, the definition of the so-called ‘simple’ polyphonies, thein geography and position in the general historical development of polyphony, have been matters of dispute. This article aims particularly to describe how and why the geographical extent of the repertory of simple polyphony has always been a contentious subject. After giving a brief historiographical overview of the different geographical definitions, the author especially focuses on the polyphonic mini-corpus of the diocese of Lausanne in Switzerland as a case study proposing a new approach, which attempts to better include the ‘simple’ polyphonies, regionally and through the course of time.

19

Antonín Dvořák et la France

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Chotil-Fani A.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

247-254

EN

The study of newspapers from the 1878–1914 period shows the origin of French ignorance of Dvořák. Very few of his works were then played in France. Their appreciation was varied. Slavonic Dances were esteemed, chamber music raised problems, symphonic works remained practically unknown. The best defenders of Dvořák were foreigners and mainly the Czechs. The French musical circles were however conscious of the composer’s importance. A Dumka and his article about Schubert were published in Paris. Dvořák was proposed as foreign correspondent by the Académie des Beaux-Arts, invited to conduct his works in the capital, requested for an exhibition of autographs in 1900 and decorated with the Gold Medal of the City of Paris. In 1906, the 9th symphony conducted by Camille Chevillard strongly divided the critics. In 1913, Pablo Casals refused to play the Cello Concerto under the leadership of Gabriel Pierné, scorning the score. A nationalist and anti-German opinion, hindered by the prejudices and colonialism could explain the difficulties encountered by Dvořák in France, in spite of the constant interest of the public.

20

Dvořák et le poème symphonique

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Velly J.-J., Maňour O.

Hudební věda (Musicology)

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2005

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vol. 42

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issue 3-4

273-282

EN

Dvořák’s five symphonic poems, composed between 1896 and 1897, attempt to bridge the antagonism existing between pure and programmatic music. Trying to overcome their typical differences, Dvořák reconciled the characteristic features of poetry and folklore with grand classical forms, demonstrating in this way his ability to utilise Liszt’s model and transform it by creating a new concept of programmatic music founded on the use of the Czech folkloric heritage. Four of the five poems are based on ballads by K. J. Erben, taken from the poetry book, The Bouquet (Kytice), where Dvořák found the sense of wonder, where simplicity meets with moral strength. Dvořák underlines the narration and the folk tone, applying the new processes which are based on the unity of poetic and musical setting. He, who initiated truly national music, models his orchestral ideas on the rhythms and intonations of the poetic text, creating a musical expression which conforms to the Czech character of the poem, opening in this way the path for Janáček. The folkloric character and his treatment of music setting, based on the will to translate as closely as possible the Czech soul, make these works an elaborate synthesis of Dvořák’s aspirations of appeasement between learned music and folklore.

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